This section outlines representative ways electronic musicians use technologies to record, process, and generate music. We discuss basic concepts such as sound synthesis and sound processing, both in real-time and non-real time. We also provide an overview of various Music Analysis methods.

In these chapters, we will give an overview of the physics of the sound event with all its characteristics. We will clarify the concepts of Frequency, Amplitude, and Phase of a wave and then talk about timbre and all its representations.

This section provides an overview of electroacoustic systems, including signal flow and all the associated devices, such as microphones, mixers, pickups, speakers, and cables. We will also look at with digital signal flow, focusing on computers, sound cards, monitors, and the mechanisms underlying the transduction of the signal from analog to digital and vice versa.

We address the main communication protocols that drive electronic instruments or effects: MIDI and OSC.

In this section, we discuss the multitude of sound processing algorithms and techniques. We show the theoretical process both time and spectral based processes such as: filters, delay, dynamic processors, distortion, reverb, and spatialization.

In this section, we illustrate techniques and algorithms of various sound synthesis techniques. In particular, additive synthesis, subtractive synthesis, modulation synthesis, phase distortion, waveshaping and wavetable synthesis, physical modeling synthesis, granular synthesis, and sample synthesis are included. Example software and hardware tools used in sound synthesis are laid out as well.

Several electroacoustic composition techniques are described in this section. (Note: This material is in Italian only)

We look at the history of electroacoustic music, starting with the first devices used in recording and reproducing sound. Then we pass through the opposing styles of the Musique Concrète style of the Paris school and the electronic music of the Cologne studio. We then arrive at the RAI Studio of Phonology in Milan, which attempted to unite the two schools of thought. Finally, we talk about digital music, new sound synthesis techniques, and spectralism up to the present day. (Note: Note: This material is in Italian only)

In this section we will look at the main approaches of how sound and video are merged together in the field of multimedia design. (Note: This material is in Italian only)